Tag Archives: Australian Hip Hop Album Review

  • Album Review: Caustic Yoda - Mutant Beats

    Album Review: Caustic Yoda - Mutant Beats

    Caustic Yoda - Mutant Beats

    There's a saying they use when describing the vast pool of musicians in the Blue Mountains Hip Hop scene, 'There must be something in the water.' If this is the case then Caustic Yoda's studio must be built on an ancient spring. Caustic Yoda is a multi instrumentalist, beatmaker, turntablist, producer, visual artist and percussionist from the heart of The Blue Mountains.

    Caustic Yoda Live

    The Producer behind one of my favourite bands Cooking With Caustic, one half of the instrumentalist band GORO along with Waza, also the beatmaker/producer behind the politically charged and consciously hard hitting Hip Hop group Bomb Threat, a member of one of the mountains most well known original Hip Hop groups Two Toes, the beatmaker/producer behind Scratches Records recent signing Otherside among many other artistic ventures including mixing and mastering most of your favourite Hip Hop albums from the state.

    Caustic Yoda has a sound and a reputation in the industry, a reflection of decades of work.
    With all this under his belt its surprising to think that this latest album Mutant Beats is Caustic's first ever solo venture.

    The album has been described as Minimal Organic Boom Bap, which really helps give you an idea of what Yoda is known for.
    His sound is very analogue, rich and earthy. It has body, and a lot of the organic sound comes from Caustic Yoda's hands on approach to beat making. That's hands on literally, as both a drummer and a beat creator Caustic Yoda makes his sounds using live finger drumming on a drum machine, synths and playing percussion. He's not the sort of cat I often see with a loop or carefully constructed sample on a computer monitor, he's a live unquantised producer, both on stage and in the studio.

    Caustic Yoda Mpc 2500

    His studio is filled with instruments of percussion, pianos, turntables, heavy cassette players, vintage arcade machines and keyboards that look like they were lifted straight from the bridge of The Starship Enterprise.

    When I last visited his studio we went out the back to where he is hand printing the sleeves for his records. The walls and floor covered in oil paintings he's working on and cover designs.
    Caustic Yoda is a passionate and humble cat who creates works reflecting not only an expression or narrative, but also a personal take on what music means to him, and nowhere is this more clearly articulated than on his new album.

    Mutant Beats is an album with a rich fidelity. It has a nourishing sound and is beautifully spaced and each instrument and rhythm given time and room to breathe.Caustic Yoda's beats sound human, the kicks and snares have character and I've always been a fan of Yoda's ability to swing. The BPM is slow and smooth, very Blue Mountains.

    If you're lucky enough to pick up the vinyl I can't recommend it enough to get that A side B side experience out of the track list, as well as hearing the music the way it was intended.

    Caustic Yoda Studio

    Stand out tracks for me are Test Patterns, Anti-matter, and the stunning song Xtapolapocetl which in my opinion is the peak of the B side to Mutant Beats. (I have it on good authority that the closing song Juno Landing is dedicated to his dog.)

    I asked Caustic Yoda about the album and he told me it's not a record that's really meant to demand your attention, it is an exercise in minimalism to create whole songs while still leaving space.
    He told me Mutant Beats has been a handmade project from start to finish and seeing how he works in the studio I couldn't think of a better way of describing it.

    You can get the album on vinyl, CD, cassette (limited) or as a digital download here.

    And of course you can find Caustic Yoda on all streaming services and social media to stay up to date with releases and see him live in concert. Peace.

    Words By Mighty Ash



     
  • Album Review: Crooked White – Confessions LP

    Album Review: Crooked White – Confessions LP

    Australian Hip Hop Artist Crooked White

    Crooked White – Confessions LP

     

    Confessions is the newest release to drop from Brisbane MC and vocalist Crooked White. The Cairns FNQ raised talent is also the front man for Schoolfight and long time hook man for Triple3. This album showcases the variously titled MC's strengths as a solo artist, effortlessly flowing between gruff verses, to singing catchy and polished choruses, to sharing his insight and personality through the tracks.

    The album is a definitely a party record. As smooth and shiny as it is, it is also, very gritty. It has a nice balance between a "commercial" melodic sound and being downright crass and rude. It has the exuberant humour and brash attitude that acts such as Funkoars bring the table. The type of music to play loudly whilst cleaning your house or having a few drinks with friends. That leads one to the assumption that these tracks would also translate very well live.

    Crooked White has a gruff rough emcee style. His voice has various shades of colour, and he pitches his verses as a rapper very well, often a more overlooked thing that emcees don't take on board. His lyrics are very sarcastic and funny, but he also shares a lot of his personality through them. His singing is on point. Even though I'm more of a fan of chorus cuts as opposed to choruses, all of these hooks are exceptionally well delivered, and pitched nicely. He is joined on "Vibe On" by Masterwolf, and "Crooked" by 7ravesty333 who both contribute dope pieces to the project.

    Overall, the album plays beautifully back to back, with no skippable tracks, although a little light and shade for dynamics would help break the album up a little more. That being said, this album is superbly produced by Aussie Ozborn, every track is a banger, and has a big boom bap sound, with heavy melodies. His beats set the tone of the whole project, and has nice elements of soul, funk embedded in the resin of the songs. 

    The albums biggest strengths are overall vocal performance and production, but perhaps the albums greatest strength is the mix/master by Cris Stevens Federal Audio. It is very professional and extremely well-polished and enhances the already well-developed structure of beats and vocals.

    This album is solid, and a great long player that you don't have to skip a single song and satisfies the musical sensibilities of a positive record. Radio play with this one, you would think is a no-brainer. It has a 'radio' sound to it, but that is not said in a negative way, as it still pays dues to the elements and represents Hip-Hop culture in a good way. It is an impressive effort from a talented vocalist, and a collaborative effort of talented individuals.

    Watch Crooked White 'Put It On Me' Below!

     

     

    Crooked White's new album drops this Friday April 11th 2018

     
  • Album Review: Helen Earth – Hell Hath No Fury

    Album Review: Helen Earth – Hell Hath No Fury

    Helen Earth - Hell Hath No Fury

    Queensland emcee Helen Earth creeps out the fiery underworld with her debut album Hell Hath No Fury, taking no prisoners and cementing herself as one of the most technical and raw female emcees in this country. The viciousness and energy that she projects is ferocious, also her ability to change up her tone and knowledge of her vocal range is usually not present on someone’s first LP, so I find this project very impressive.

    This album continues the winning streak from Shake Down, every release they have distributed has been on point. Originally from Perth, Helen chooses the best in the west to handle the mixing, cuts and master, Rob Shaker, and as usual he does a phenomenal job on that front.

    The album starts with an intro, with a well selected pitched down sample from the movie “The Network” you know you’re in for something good. Then Sun Tzu…. Haha, raw as f. She has an extremely flowy and aggressive style. Every verse she delivers has exceptional bite and ferocity. Aggressive and unapologetic, she rips and blisters through her verses, but does so in a musical way, and her lyrics are intelligent. Sometimes she is ruthless and crass and sounds downright evil, other times she is veracious, and delivers wordy verbose lyrics which you can tell come from a complex, wise individual. The topic matter in this album is vast, so it makes it hard to comment on, but variety in tracks is what makes it an enjoyable long player.

    Production is handled by a lot of different contributors but still has a cohesive sound. Helen does a good job of delivering on every track which adds to that glue between tracks, but it is also a reflection of good beat selection. She has some crazy beats from Matt Rafle, AussieOzBorn, Truth One, Sinks, Uncle Sam, Breath and Rob Shaker. It has a heavy boom bap 90’s flavour, inside the beats and flows. Shadz and Breath contribute dope verses to the project, but Helen does not rely on any other emcees, she is brutal on all the tracks, casually tearing each song a new arsehole.

    Some people will obviously have criticisms, it is the nature of doing something original, and how raw boom bap is a forgotten art form for the most part, but this album is extremely dope, and Helen Earth is my new favourite female emcee in this country. I can imagine Rob Shaker would have had an interesting time mixing this one, as she has the aggressive tones that cut through the beat the way Kogz does. You can tell this is one of the albums seldom created, when a collaborative team just gets everything right. Can’t recommend this one enough.

    Favourite tracks: Sun Tzu, The Handmaid’s Rhymes, In Situ, Rappers Suck and Quote This.

    Grab your copy of Helen Earth - Hell Hath No Fury here.

    Words By Lani Milbus

     
  • Album Review: Photograph Your Aura LP

    Album Review: Photograph Your Aura LP
    Nelson Dialect & Alnitak Kid - Photograph Your Aura LP

     

    Photograph Your Aura is the latest self-titled debut from talented Adelaide poet Dialect and producer Alnitak Kid. This release is the first cab off the ranks of the new label Bleu Avian, created by Nelson Dialect and Alnitak Kid.

    Standing firm in solidarity entirely in its own lane, this release is original, woozy, experimental, retro, off-kilter and lo-fi Hip-Hop encrusted gold. The soundscape is more than just ‘beat making.’ Alnitak Kid is more of a composer of sounds and textures, creating soundscapes for Nelson Dialect to effortlessly flow over. He uses really dusty, and small bit rate samples to create an oldish but new feeling inside the beats. He also uses off-beat rhythms, time signatures and interesting percussion to add his own flavour to the whole projects. His production is not trying to be like anything else, it is purely in its own category (especially in the Australian Hip-Hop scene) and matches Dialect’s originality as a lyricist.

    Dialect delivers supreme architecture, poetry and consciousness within his lyrics. His gravelly voice suits the production like a glove and he delivers many different styles and flows over the grainy production. He touches on topics such as love, the world and inner reflective thoughts, plus many other themes. It is a coming of age record in my opinion, Dialect on his grown-man rap steeze, poetically flawless. The two obviously have a cohesive gel together, and the combination of both is really original and refreshing.

    The artwork and film clips accentuate the old rusty feel of the album, the video clips are artistically and creatively designed deliberately to look like its shot on VCR or an older medium. It enhances the feel of the music and is a very brave and brilliant way to showcase the music.

    Overall, this is a release that isn’t a traditional ‘Hip-Hop’ album, but it is far more original than the majority of music being dropped lately. It truly stands alone, in a good way, and is a prime example of how creativity can be pushed, into positive new territory.

    Stream or download Photograph Your Aura here.

     

    Words By Lani Milbus

     
  • Album Review: Vic The Bitter – Side Affects

    Album Review: Vic The Bitter – Side Affects

    Album Review: Vic The Bitter – Side Affects

     

    Vic The Bitter – Side Affects

     

    From the west side of AUS, Vic The Bitter has blessed us with a giant release. The “Side Affects” Lp is an extremely bass heavy, full-strength, brusque example of Australian Hip-Hop in its raw but refined form. The type of release that is not simply explained in words, but very easy to comprehend upon first listen, the tunes get you entangled straight away.

    The Perth-born emcee has been around for minute, Melbourne heads may remember him from shows he did whilst he was living there for 3 years, supporting the likes of Brad Strut, Kings Konekted etc. This LP was also started in Melbourne (The sun rises in the east but it sets in the west.)

    The author of this article could be considered a hater. A jaded purist, or a judgemental prick. He could be considered a very critical and hard to impress c@#nt. I say that not to degrade ones character, or to detract from what is being said. I say this as an attempt to explain that the praise and accolades given, is from a source that takes a quality project to impress me, to which this album definitely has (from first listen, through to sequential plays.)

    Vic The Bitter has a fast paced, coarse and rough style. Fans who appreciate both raw gruffness on the voice and interesting/unique wordplay, will love his style. His voice reminds me of a few emcees (although comparisons are always a fickle idea,) such as Dekoda, Billy Bunks and Ken Oath. However, his style of rapping in terms of flow and lyrical content is purely his own. He covers different topic matter from battle/braggadocio tracks, to narratives, to solitary boredom, drug use and random topics. The main consistency with this album, is that every track is a banger. That term not being used loosely either, this shit fucking bangs.

    This album features a surprising yet rock-solid list of guest artists from different parts of Earth, ranging from Perth, to the US, to the UK. The 1st feature is by Stinkin Slumrok from the UK. He slaughters this verse. Crazy flow and infliction on his voice, dope lyrics. I’ve only heard limited amount of his work, but this has definitely pushed me to look at more of it, super nice. The 2nd feature is Aslan, on “Livewire.” Aslan slays his verse as usual, combining his complex black magic imagery and wordplay, effortlessly flowing over his self-produced beat. The 3rd feature is “Death Scholars” featuring Non-Phixion’s Goretex and Clandestein’s own Tomahawk. This track is a huge banger, Goretex doesn’t skimp out on the feature, he goes in hard and Tomahawk delivers his signature cryptic lyrics, baritone hefty delivery. The final feature takes the prize for best verse of the whole album. Sean Price’s posthumously released verse is one of his finest, his delivery is just ridiculous, and he gives me chills on this one.

    The artwork on this one is handled by Vic himself, and is well crafted and gives the album visual representative of what to expect from the sound.

    I left production to last in this article deliberately. The beats on this release are arguably what makes it so good, and in my opinion the albums strongest quality. The main bulk of the album is produced/mixed by Professa Kaos. He has incredible production. Every beat is fucking mammoth, slamming boss, bass heavy, big drum Hip-Hop. It has the perfect blend of electronic influence/sound quality and classic boom bap feels. His mix downs on the vocals is also worth mentioning as he makes acclaimed artists like Sean Price and Goretex sound colossal and as good quality as any of their other work. However the sheer quality of Professa Kaos’ work kind of overshadows the other songs on the album, from beats to the mix downs, there is definitely a sense of a shift in quality when the tracks move from his work to others. This is not to detract from the other songs on the album, they are all great tracks, but in context of the whole album, I think that the project would have been more consistent and possibly better if it were all handled by Professa Kaos. This is meek critique however, as mentioned above, the whole piece is a great album, but the standard of quality on 90% of the tracks does stand at a height quite above the other 10%.

    Favourite tracks: Synaesthesia, Idle Hands, Gum Rot Funk and Disco Biscuits.

    Words By Lani Milbus

    Vic The Bitter - Side Affects Banner

     
  • Album Review: Flu - Fludust

    Album Review: Flu - Fludust

    Fludust

    Starting this review has caused much trepidation, mainly due to the multifaceted and complex nature of the writing displayed within this LP, it’s as though somehow I want the review’s intricacy to reflect how crazy Flu’s writing is, but alas, the music speaks for itself, and nothing I write does this album justice.

    The return of your favourite anti-hero, Flu, delivers his finest work to date. The acclaimed genius, is considered by many to be one of the best emcees in the country, so it should disquiet many that he has once again levelled up, taking his signature elaborate styles to a level we’ve yet to see in full form. The latest release is as unsafe as it is enjoyable to listen to. Entirely self-produced by Flu and mixed by Crate Cartel member Phil Gektor, it’s an incredible solo effort on Flu’s behalf. It is also a reflection of how good Phil is getting on his mixing work as well, he does a phenomenal job.

    Dust is a chessboard, each beat the opposing player, every line a significant move of each piece. Every piece of imagery and content puts you in check and before you’ve thought of an escape route, he has once again put you under check once again. The level of lyricism is hard to describe. It’s layered, sarcastic, cavernous, original and super poignant. Double entendres, double meanings, heavy metaphors and innuendo all twist the brain into a pretzel knot, making each line sink in subconsciously before the conscious mind can comprehend the layers to each line.

    Dark, moody, atmospheric and dusty describe the album’s soundscape. Some tracks hit you hard in the mental, some hit you hard in the heart, others are hype stomping tracks. If you purchase this album in hopes of a “feel good”, positive, party record, then you will be seriously disappointed. If you’re after an album, with depth, production value, reflective songs, dark, complex themes, incredible finesse and unfathomable lyricism, you will be unassumingly impressed. The ambiguity of some lines are brilliant. The best example of this complexity, treacherous style is the track “Pay Dirt” where he blisters through some incredible lines, over a heavy slow banger.

    The only thing I can find wrong with this release is that its only 10 tracks deep. However, the quality of the tracks just leave you scratching that itch that he leaves you with, needing the next fix.

    The album has some impressive features including Fashawn, Has-Lo, Phil Gektor & Shirt, and they all bring their weight to each track. Flu is a super heavyweight on each track including the features, but the tracks that pertain to me the most are the ones when he is rocking solo. Songs such as Anti-Hero, Kerkovian, Pay Dirt & Operation: DUSTLAUD are stand outs for me, with Flu flexing his superior styles & panache over each self-produced masterpiece. The one stand out track to me that just hits the chills, Phantom Cloak is inconceivably relatable. Too many great lyrics to quote, but every line is well-crafted and is delivered from a perspective of wisdom and solemness. The beat is understanding and wraps you up in its unassuming arms. In a cookie cutter world, this song is unapologetically swimming against the current. Having a code over all the bullshit basically.

    Flu has not released much previous production work, but this album is extremely well crafted, abstract and original. This album is a breath of fresh air, and stands alone as one of the best self-produced and rapped albums to drop in recent years. It has to be in the top 3 releases of 2017, and if you disagree, you need to listen to music more intently.

    Disclaimer: this article was written in awe and appreciation of the craft of emceeing displayed, and in no way is trying to “sell” this album to the reader. It meekly tries to give it the respect it truly deserves, and has been an article that has taken months to write.

    Words By Lani Milbus

     
  • Album Review: Context - Rogue Astronaut EP

    Australian Hip Hop Context - Rogue Astronaut Context - Rogue Astronaut EP Cover

    Boom bap. It’s a phrase used loosely in this astrological age. Context & Jimmy Flipshyt are names synonymous with the genre. Transmitting their dusty frequencies through the stratosphere for what a mere mortal may perceive as thousands of Earth days, it’s fair to say they have been making noise in Melbourne for quite some time now. A trio of quality Ep’s saw the duo gain rotation on Triple J and supports for touring acts (R.A. The Rugged Man, High Focus Records, P.Smurf, Dialectrix etc)

    This release is quality. Full Stop. That’s my review done. One would only be gushing to find adjectives appropriate for this. Rogue Astronaut is classic, purist Hip-Hop. Under the guise of Joe Syzlak, the release is primarily produced by Context, heavy mid 90’s vibes permeating the whole release. Obviously refined, the production skill is top notch, the drums tight, punchy and dusty. With the addition of a beat each from Boxtrumental & Jimmy Flipshyt this is an exquisitely crafted record. To speak on the vocals could only be a meagre attempt to accolade what can only be described as a story. You have to listen to it front to back with all the art and you can see what the “rapper” aka author is doing. With tight, multi-syllable, pocket flows Context labourlessly (I just made that word up) sweeps over the beats with his coarse, warm and nasally tones. His style comparatively simlar to Leaf Dog (High Focus) and Dandenong heavyweight Never Settle

    I’ll start from the start of the album but conceptually you could view this project in a different order. I’ll get into that later.

    1. Rogue Astronaut (Intro)

    Vinyl crackle, dusty sample, transmitter frequencies, tight swing drums, launching into the sky, this track starts on some intergalactic space writer shit. Context’s flow on this is so dope, some of his best on the release. Buick finishes the track off right with chirps and tight space noise cuts. A great way to kick off the album, it sounds like ya roll a little something to get warmed up if ya know what I mean. Chill back, expand and enjoy the journey.

    2. Piss Me Off

    This track is produced by Boxtrumental. Bangin’ beat, the saloon style piano and horns have that “big” boom bap sound. The track essentially entails the thoughts of a jaded arsehole haha. It is the purist mind state, Context is letting you know all the things that piss him off. Sarcastic and humorous this tracks is flowy and enjoyable. Clever track placement.

    3. Trouble

    Back to Joe Syzlak production. Classic 90’s style samples. Real nice choice and taste in sounds for the production. Vocals are real dry and raspy, combine that with the rapid fire delivery and fresh mix-down, this track is well polished, with a dusty sound. Cuts by Jimmy Flipshyt are killer, wicked selection of vocal samples. This tracks a bit of fun.

    4. Interlude

    Ill interlude, one of the best beats on the album. The samples give it a Honeymoon On Mars feel.

    5. Jazz Man

    One of those beats that Kool G Rap would sound good on. Not to detract from Context. This one is chilled out and somewhat of a narrative. Sick instrumental from Jimmy Flipshyt, the gel with the beat and vocals is nice. The Canberra landed, Melbourne residing rapper is his most melodic on this one, nice to hear a bigger range from him. At this point in the first listen as a listener you know this release is quality. Context is a talented rapper with a unique voice and style.

    6. Route 11

    As suggested in the intro, you could listen to this ep in a different way. These last two tracks have conceptual film clips on Youtube so you could essentially watch “The Landing” then “Route 11” then play the ep from the start (that being said you could check it out in any order, the album is so cohesive). These clips are cinematic and explain the “Rogue Astronaut” theme.

    Context conceptualized the ideas for it and teamed up with Dayne Edward to produce what are two amazing clips.

    As for this track, it’s the standout track of the release to me. My favourite beat, so moody dark, clean and dirty. Head nodding flow, clear concise delivery. Beat change up about a minute or so into the track keeps you on your toes and only deepens the heart thudding connection to the instrumental. Buick holds down the cuts, an awesome way to finish the track.

    7. The Landing

    This is an excellent clip, it is exciting, weird and sets the tone for the whole release (the author could have a whole separate review for the clip itself.) Fat, punchy, live drums and nice sample. Strung out rhythmic flows, solid tone delivery, this is one of Context’s best performances. The cuts entail “Smooth Crash Landing” from Fliptrix (if not already familiar with that album, one doesn’t appreciate the significance of that particular theme) Great selection from Jimmy Flipshyt, very tasteful. The extra sample at the end and studio snippets close the album perfectly.

    After a few rotates, this Ep grows on you immensely. It has a variety of different styles and textures, not too much of this, not too much of that. At first it seems like the vocals need a bit more air in the mix but after a few listens you realize the mix is in that perfect pocket, not too loud, not too quiet. The master by L-Rox at Redsecta is dope, the whole thing bangs. Overall this is a solid release worthy of astronomical praise, limited to cassette and digital, it’s a cult conceptual release. Not many people do that sort of stuff anymore.

    For fans of: Leaf Dog, Must Volkoff, Never Settle, underground Melbourne, dusty crate, Pleiadian type Hip-Hop

    Words by Lani Milbus.

    Context - Rogue Astronaut EP is available now for free download!

     
  • Review: Punch - Everything That Eats At Me

    Punch - Everything That Eats At Me

    Punch - Everything That Eats At Me (Review)

    From the depths of the Brisbane Hip-Hop scene comes Punch with his debut solo release Everything That Eats At Me. Punch has been present in the scene for a while now, working on various crew projects and supporting the likes of Trem One, Brad Strut, Hired Goons, Lazy Grey, Jake Biz, Suss One, Dwizofoz, Dielectrix, Exit Strategy, Gaz Hazard and more.

    Punch has an honest, gruff style. You can tell there is a lot of angst, life experience and emotion put into his lyrics, every lyric is partisan to the person he is (this shines through on every track.) His rough but warm voice reminds me of fellow Brisvegas emcee Rezadent. The whole Ep has a full circle of tracks, variety and allure to that classic "Brisbane" Hip-Hop sound, from the dark street KK style tracks, to tracks reminiscent of "Banned In Queensland," to the clean crisp boom bap sound evocative of Exit Strategy.

    1.  Hiatus (Ft. Triple 3) 03:33

    This is perhaps the perfect title to start the album "I know its been a while, I put my rhymes on hiatus" something artists have to do from time to time. The beat is raw, and so are the vocals, real gutter, street sound. Punch is joined on the track by Triple 3 and cuts by Nuggy Gee. Triple 3 has a similar style to Punch and they gel effortlessly on a track. The cuts are very tasteful and give the track structure.         

    2. 310 03:46

    The beat is extremely warm on this one, Punch delivers one of his best tracks, his delivery so dour, warm and colourful. His lyrics reflect the mentality of the 40 hour worker, where time slips away, day starting at 3: 10. The chorus is extremely catchy, the perfect balance to tie the whole track together. One of those songs that would go down well on a Friday arvo, wit a cone and a couple bevvies.              

    3. Bad Decisions (Ft. Dwizofoz) 03:38

    The track title is self explanatory. Raw, street and life experience put on a track. Both emcees expose their souls, Punch has this controlled aggression, added with sweeping flows and honest lyrics- you can feel the angst in this one. Dwizofoz delivers one of the best verses I've heard from him. As a battle rapper he takes a bit of a risk by laying his cards down flat and tells the listener about his struggles. Multi-syllables and crazy flows he shows why he stands strong as the RT boss, this track is earnestly enjoyable.

    4. Think About It (Ft. Biotic & Elaborate)  03:52

    The instrumental used on this one is my favourites on the album. Biotic kicks the track off with blistering flows, skips in the flow remind me of Kool G, he has a bright rough voice. As someone who hasn't heard much of his work, it makes one wanna check out more instantly. Punch's voice sits on the beat nicely, his delivery shining through on this one, that rough voice on the sweetness of the violin sample in the beat. Wordplay on this track is second to none. The track is rounded out by Exit Strategy's Elaborate. He shares a lot of his thoughts, with an attacking fast paced flow and intricate wordplay.

    5. Randomness 03:29

    This track, Punch is having fun! The beat is funky, jazzy, reminds me of old Hilltops and Banned In QLD. Punch delivers his funny, sexual, random banter on this one.. Really a lot of fun, this is a track even a non Hip-Hop listener would get down with and the type of song that provokes you to get loose!

    6. In All Honesty (Ft. Irrelevant) 02:27

    Sombre and thoughtful, this track tugs on the heartstrings. Punch pays tribute to his family, individually addressing his Mum, Dad and sisters in separate verses. The gravel smooth RnB voice of Irrelevant holds you and reassures you everything is all good. This is a track obviously for his families ears but it translates so well, and I could completely relate to what was being said.      

    7. Regrets (Ft. Nuggy Gee) 02:11

    In line with alot of the content on this album, Regrets ties in the struggles and regrets Punch has obviously felt. He is joined by Nuggy Gee. The baroque melody of the piano sample creates a sombre feel. Nuggy Gee delivers honestly, verbalising through his instrospective lyrics. Punch raps abouts his struggles with drinking, wasting time and regrets. He has one of those voices that cuts through with pure Australian tone, at this point you start to realise how good his voice really is.

    8. I Confess (Ft. Sarah Blasko) 02:29

    The sweet voice of Sarah Blasko opens this track, Punch drops into a double time beat and flow. Love is the theme of this one, with intricate and rhythmic flows he admits to past mistakes but also shows how much he has grown, summarising the content in much of the rest of the tracks. In collaboration with the angelic tones of Sarah Blasko's beautiful voice, this is a fitting song to finish the album, bittersweet and beautiful.

    This release is a biography of Punch's past. You get to know him on a personal level, as an artist and a man just trying to find his way like everybody else. Relatibility is the albums strongest attribute, every line out of his mouth you can feel, or describes perfectly a time in your own life, or thoughts that you may have had.

    Overall I think there could be a few improvements, the tracks going for longer (sometimes your just hanging for verse 2 and it never comes haha) and also in a few technical aspects - mixing and mastering mainly but this does not detract from the quality of the music. This is a man who has taken the last three years to piece together songs that reflect and express himself properly and the result is a musical journey that takes you straight to his heart and mind, fearlessly exposing his soul whilst perforating your ear with his innovative style and thoroughly enjoyable voice.

    Download your free copy of Punch - Everything That Eats At Me here!

    Stream it now below!

    Words by Lani Milbus.

     

8 Item(s)